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Pomp and Circumstance Marches
The Pomp and Circumstance Marches (full title Pomp and Circumstance Military Marches), Op. 39, are a series of marches for orchestra composed by Sir Edward Elgar. They include some of Elgar's best-known compositions. Title The title is taken from Act III, Scene 3 of Shakespeare's Othello: Farewell the neighing steed and the shrill trump, The spirit-stirring drum, th'ear-piercing fife, The royal banner, and all quality, Pride, pomp, and circumstance of glorious war! But also, on the score of the first march, Elgar set as a motto for the whole set of marches a verse from Lord de Tabley's poem "The March of Glory",Maine: Works pp. 196–7 which (as quoted by Elgar's biographer Basil Maine) begins''The March of Glory''. This appears to be an effort (by whom unknown) to paraphrase De Tabley's poem, but it arguably lacks the strength of the original Like a proud music that draws men on to die Madly upon the spears in martial ecstasy, A measure that sets heaven in all their veins And iron in their hands. I hear the Nation march Beneath her ensign as an eagle's wing; O'er shield and sheeted targe The banners of my faith most gaily swing; Moving to victory with solemn noise, With worship and with conquest, and the voice of myriads. proclaiming the "shows of things" (Maine's quotation marks):This phrase occurs in a famous quote from Francis Bacon's The Advancement of Learning (1605): "submitting the shows of things to the desires of the mind" the naïve assumption that the splendid show of military pageantry—"Pomp"—has no connection with the drabness and terror—"Circumstance"—of actual warfare. The first four marches were all written before the events of World War I shattered that belief, and the styles in which wars were written about spurned the false romance of the battle-song. Marches The Pomp and Circumstance marches are *March No. 1 in D (1901) *March No. 2 in A minor (1901) *March No. 3 in C minor (1904) *March No. 4 in G (1907) *March No. 5 in C (1930) *March No. 6 in G minor (written as sketches, elaborated by Anthony Payne in 2005–06) The first five were all published by Boosey & Co. as Elgar's Op. 39, and each of the marches is dedicated to a particular musical friend of Elgar's. Each march takes about five minutes to play.Boosey & Hawkes full score March No. 1 in D Dedication March No. 1, was composed in 1901 and dedicated "to my friend Alfred E. Rodewald and the members of the Liverpool Orchestral Society". Instrumentation The instrumentation is: two piccolos (2nd ad lib.), two flutes, two oboes, two clarinets in A, bass clarinet in A, two bassoons, contrabassoon, four horns in F, two trumpets in F, two cornets in A, three trombones, tuba, three timpani, percussion (bass drum, cymbals, triangle, side drum, jingles, glockenspiel (ad. lib.) and tambourine (ad lib.)), two harps, organ, and strings. History The best known of the six marches, Pomp And Circumstance March No. 1 In D had its premiere, along with March No. 2, in Liverpool on 19 October 1901, with Alfred RodewaldThe Elgar Society website http://www.elgar.org/3pomp-a.htm mentions new research (August 2015) suggesting that Elgar conducted on that occasion, but is unclear whether Elgar conducted both marches or just No. 1. conducting the Liverpool Orchestral Society.Kennedy, p. 285 Elgar and his wife attended, and it was a "frantic" success.Moore, p. 357: "He and Alice went to Liverpool for Rodewald's première of the two Pomp and Circumstance Marches. The success of the first March especially was frantic. Both marches were played two days later at a London Promenade Concert (which the Elgars unintentionally missed) in the Queen's Hall London, conducted by Henry Wood, with March No. 1 played second. Wood remembered that the audience ...rose and yelled... the one and only time in the history of the Promenade concerts that an orchestral item was accorded a double encore."Henry Wood, My Life of Music p. 154 The Trio contains the tune known as "Land of Hope and Glory". In 1902 the tune was re-used, in modified form, for the "Land of hope and glory" section of his Coronation Ode for King Edward VII.Moore, p. 365: "[Working on the Coronation Ode, Elgar] wrote to Arthur Benson to ask whether words might be written to fit the Pomp and Circumstance Trio tune ... Benson sent verses for a Finale beginning 'Land of hope and glory ...'" The words were further modified to fit the original tune, and the result has since become a fixture at the Last Night of the Proms, and an English sporting anthem. Also almost every concert in big British cities that features Pomp and Circumstance, the audience will start to wave British related flags and sing along whenever the trio section is encountered. In Canada, the Philippines and the United States, the Trio section "Land of Hope and Glory" of March No. 1 is often known simply as "Pomp and Circumstance" or as "The Graduation March" and is played as the processional tune at virtually all high school and some college graduation ceremonies. It was first played at such a ceremony on 28 June 1905, at Yale University, where the Professor of Music Samuel Sanford had invited his friend Elgar to attend commencement and receive an honorary doctorate of music. Elgar accepted, and Sanford made certain he was the star of the proceedings, engaging the New Haven Symphony Orchestra, the College Choir, the Glee Club, the music faculty members, and New York musicians to perform two parts from Elgar's oratorio The Light of Life and, as the graduates and officials marched out, "Pomp and Circumstance" March No. 1. Elgar repaid the compliment by dedicating his Introduction and Allegro to Sanford later that year. . The tune soon became de rigueur at American graduations, used primarily as a processional at the opening of the ceremony. Description March No. 1 opens with an introduction marked Allegro, con molto fuoco.Allegro, con molto fuoco; "Lively, with much fire"This is played by the full orchestra. Unconventionally, the music starts on the second half of the second beat of each bar, accented, in a key (remote from the march's 'home' key of D) which resembles a favourite military band key of B but found to be in the Lydian mode on E , the same little motif proceeding down in the bass and up in the treble voices half a bar later, all punctuated by chords on the second beats. The introduction leads to a new theme: strong pairs of beats alternating with short notes, and a bass which persistently clashes with the tune. The bass tuba and full brass is held back until the section is repeated by the full orchestra. A little rhythmic pattern is played by the strings, then repeated high and low in the orchestra before the section is concluded by a chromatic upward scale from the woodwind. The whole of this lively march section is repeated. The bridging section between this and the well-known Trio has rhythmic chords from the brass punctuating high held notes from the wind and strings, before a fanfare from trumpets and trombones leads into the theme with which the march started. There are a few single notes that quieten, ending with a single quiet tap from side drum and cymbal accompanied by all the bassoons.This single note from side drum and cymbal, off the beat, accompanied by bassoons and contrabassoon is perhaps Elgar's tribute to Beethoven, resembling the Turkish music in the finale of his Choral Symphony The famous, lyrical "Land of Hope and Glory" trio follows (in the subdominant key of G), played softly (by the first violins, four horns and two clarinets) and repeated by the full orchestra including two harps. What follows is a repetition of what has been heard before, including a fuller statement of the Trio (this time in the 'home' key of D) in which the orchestra is joined by organ as well as the two harps. The march ends, not with the big tune, but with a short section containing a brief reminder of the brisk opening march. March No. 2 in A minor Dedication March No. 2 was composed in 1901 and dedicated "To my friend Granville Bantock". Instrumentation The instrumentation is: piccolo, 2 flutes, 2 oboes, 2 clarinets in A, bass clarinet in A, 2 bassoons, contrabassoon, 4 horns in F, 2 trumpets in F, 2 cornets in A, 3 trombones, tuba, timpani (3), percussion (2 side drums,The second side drum is ad. lib. triangle, glockenspiel & jingles, bass drum & cymbals), and strings. History It was first performed, as was March No. 1, by the Liverpool Orchestral Society conducted by Alfred Rodewald, in Liverpool on 19 October 1901.There is doubt over whether it was Rodewald or Elgar who conducted the premiere: see remarks in the History of No. 1 above regarding this performance. Both marches were played two days later at a London Promenade Concert. Description The second is the shortest and most simply constructed of the marches. The composer Charles Villiers Stanford is said to have preferred this march to the first, and thought this the finest of all the marches. After a loud call to attention from the brass, a simple staccato theme, tense and repetitive, is played quietly by the strings, being gradually joined by other instruments before building up to an abrupt climax. This section is repeated. The second theme, confidently played by horns and clarinets, with contrasting triple and duple rhythms, is one which was sketched by Elgar a few years before: this is developed and ends with flourishes from the strings and brass joined by the glockenspiel. The opening staccato theme returns, concluded by a quiet swirling bass passage, which leads into the Trio section (in the tonic major key of A) which consists of a delightfully simple tune in thirds played by the woodwind (flutes, oboes, clarinets and bassoons), answered conclusively by the strings and brass. This Trio section is repeated, and the march concluded with a brilliant little coda, which includes a drum roll on the snare drum, a shattering chord in A Minor, briefly played by horns, and followed by a final cadence. March No. 3 in C minor Dedication March No. 3 was completed in November 1904 and published in 1905. It was dedicated "To my friend Ivor Atkins". It was first performed on 8 March 1905, in the Queen's Hall, London, conducted by the composer. Instrumentation The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B , bass clarinet in B , 3 bassoons,The instrumentation is unusual in having three bassoons instead of the usual two, and Elgar directs in the full score that "the tone of the fagotti must be allowed to preponderate..." contrabassoon, 4 horns in F, 2 trumpets in B , 2 cornets in B , 3 trombones, tuba, timpani (3), percussion (tenor drum, side drum, bass drum & cymbals), and strings. Description March No. 3 differs from the others in its opening mood, which is deliberately solemn. It begins with a dark subdued quick march led by low clarinets, three bassoons and the horns (with drum-beats inserted between the notes of the tune), before a vigorous theme (with brass alone at the first beats), erupts from the full orchestra. The dark theme re-appears, is then restarted boldly, then ended abruptly. The central section commences with a perky tune played by a solo clarinet with simple string accompaniment, which is followed by another of Elgar's noble tunes played by the strings of the orchestra. All the themes re-appear and there is the final section which ends abruptly. March No. 4 in G March No. 4 is as upbeat and ceremonial as No. 1, containing another big tune in the central Trio section. Dedication March No. 4 was completed on 7 June 1907, and dedicated "To my friend Dr. G. Robertson Sinclair, Hereford".Dr. George Robertson Sinclair was then the energetic organist of Hereford Cathedral and G.R.S. of the Enigma Variations It was first performed on 24 August 1907, in the Queen's Hall, London, conducted by the composer. Instrumentation The instrumentation is: piccolo (with 3rd flute), 2 flutes, 2 oboes, cor anglais, 2 clarinets in B , bass clarinet in B , 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in A, 3 trombones, tuba, timpani (3), percussion (side drum, bass drum & cymbals), 2 harps, and strings. History The Trio was used by Elgar in a song called "The King's Way" which he wrote, to his wife's words, in celebration of the opening of an important new London street called Kingsway in 1909.McVeagh, p. 156: "In 'The King's Way' Elgar set Alice's words to the trio theme of Pomp and Circumstance No. 4, to celebrate the thoroughfare recently opened in London." In World War II, No. 4 also acquired words: a patriotic poem by A. P. Herbert with the refrain beginning "All men must be free" was used as "Song of Liberty". In the wedding of Charles, Prince of Wales, and Lady Diana Spencer, Pomp and Circumstance No. 4 served as the recessional. As Diana's veil was lifted and the couple bowed and curtsied to Queen Elizabeth II, the opening notes sounded and continued as they walked down the aisle of St Paul's Cathedral out to the portico and the waiting crowds. Description The march has an opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous "Land of Hope and Glory" trio of March No. 1. The first eight bars of the march is played by the full orchestra with the melody played by the violasOne might expect the tune from the violins, with the violas playing a lower part and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune. There are subdued fanfares from the brass interrupted by little flourishes from the strings before the opening march is repeated. There is pause, then a little section which starts forcefully but quietens, leading into the Trio. The Trio follows the pattern of March No. 1, with the melody (in the subdominant key of C) played by clarinet, horn and violins. The violins start the Trio tune on the lowest note they can play, an "open" G-string, which gives a recognisable "twang" to this one note, and they are directed to play the passage "sul G"''sul G = on the G-string on the same string, for the sake of the tone-colour, and the accompaniment is from the harps, low strings and bassoons. The grand tune is repeated, as we expect, by the full orchestra; the opening march section returns; the grand tune is repeated once more, in the "home" key of G major; and the last word is had by a re-statement of the opening rhythmic patterns. The march prepares the audience for its end as surely as a train pulling into a station, with the violins, violas, and cellos ending on their resonant "open" G. March No. 5 in C Dedication March No. 5 was composed in 1930, much later than the others, and dedicated "To my friend Dr. Percy C. Hull, Hereford".Moore, p. 785: "In early May 1930 he sent it to Booseys to add to Op. 39."McVeagh, p. 199: "To Hull he dedicated a fifth ''Pomp and Circumstance march." Its first public performance was on 20 September 1930 in a Queen's Hall concert conducted by Sir Henry Wood, though it had been recorded two days earlier in the Kingsway Hall, London, conducted by Elgar himself in spite of his poor health.Moore, p. 786: "his ill health, Elgar was able to get to London for gramophone sessions which included the new Pomp and Circumstance No. 5 - rehearsed and recorded two days before Henry Wood conducted the first public performance in a sold-out Queen's Hall." Instrumentation The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B , bass clarinet in B , 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B , 3 trombones, tuba, timpani (3), percussion (side drum, bass drum & cymbals), and strings. Description Without introduction, its opening episode is extended with enormous confidence and proceeds directly into the Trio section. The Trio starts quietly in a similar way to the introduction of his First Symphony: just a moving bass line and a tune, also in the same key (A ). The tune is re-stated strongly, as we expect, then developed. The re-statement of the opening employs the same instruments of the orchestra, but is this time started as soft as possible for just four bars before a quick crescendo restores its spirit to as it was in the beginning. There is more development before a big return of the Trio theme, in the home key of C, and a triumphant ending which might bring to mind the conclusion of Grieg's In the Hall of the Mountain King. March No. 6 in G minor History Elgar left sketches for a sixth Pomp and Circumstance march, to be the final work in the set. In 2005, these were sent by the lawyer for the Elgar Will Trust in a bundle to the English composer Anthony Payne. Also included was an article titled "Circumstantial Evidence" by the Elgar authority Christopher Kent from the August 1997 Musical Times explaining the sketches. One idea in the sketches was marked by the composer "jolly good". Kent believed that Elgar's compositional thoughts and time were by then engaged with the Third Symphony and The Spanish Lady, and that the main theme for the march was "unpromising". Payne felt there was not enough in the sketches to complete the march, but fortunately three pages of score in Elgar's handwriting were discovered at the Royal School of Church Music Colles Library marked "P&C 6". In 2006, the score and sketches were turned into a performing version. Payne observed in the program notes that "Nowhere else in the Pomp and Circumstance marches does Elgar combine compound and duple metres in this way". Payne concluded the piece with a brief allusion to the first Pomp and Circumstance March. The world premiere was on 2 August 2006 with Andrew Davis conducting the BBC Symphony Orchestra at The Proms at Royal Albert Hall. The first recording was by the BBC National Orchestra of Wales under Richard Hickox. Instrumentation The instrumentation is: piccolo, 2 flutes, 2 oboes, cor anglais, 2 clarinets in B , bass clarinet in B , 2 bassoons, contrabassoon, 4 horns in F, 3 trumpets in B , 3 trombones, tuba, timpani (4), percussion (side drum, cymbals, bass drum, jingles, glockenspiel), and strings. Arrangements For piano solo: The first four marches were arranged by Adolf Schmid and March No. 5 by Victor Hely-Hutchinson. For piano duo: March No. 1 was arranged by Adolf Schmid.Adolf Schmid (1868–1958) For organ: March No. 1 was arranged by Edwin H. Lemare and March No. 4 was arranged by G. R. Sinclair. Marches 1–5 have been arranged in simplified and abbreviated form by William McVicker; concert transcriptions of Marches 2, 3, and 5, matching the Lemare and Sinclair arrangements, have been made by Michael Brough for use at Holy Trinity Sloane Street but have not yet been published. For military band: The first four marches were arranged by M. Retford and March No. 5 by T. Conway Brown.Thomas Conway Brown For brass band: March No. 1 was arranged (transposed to B ) by J. Ord Hume.Lieutenant J. Ord Hume L.F. Recordings * The first recording with Elgar conducting (Marches 1 and 4 only) was weeks before the outbreak of World War I, in July 1914. This acoustic recording was made for the Gramophone Company and appeared under the H.M.V. label on disc D179.Kennedy, p. 364 References Notes Sources * * * * *Wood, Henry, My Life of Music (London, 1938) External links * "The March of Glory", by John Warren, 3rd Baron de Tabley * Elgar Marches on CD * Elgar Birthplace Museum * * * Free sheet music of the marches on Cantorion.org Category:Compositions by Edward Elgar Category:British marches Category:Graduation Category:Music for orchestra and organ Category:Music dedicated to family or friends Category:1901 compositions Category:1904 compositions Category:1907 compositions Category:1930 compositions Category:Segments from Fantasia 2000 Category:Graduation songs